Sunday, January 3, 2016

This post has been coming for a while now, but I've kept putting it off with an absolute tsunami of excuses, prevarications & mental sleight of hand. yet it still was there a marked date that just needed recognition. Anyone who has been following this blog for a while will be painfully aware of how it has limped along in the recent past and that I've struggled to maintain any consistency with its output. This has been due to a lot of different factors that I won't go into as they are really just a catalogue of excuses hiding the actuality that maintaining The Parrish Lantern, in the way I'd like is no longer feasible, in fact the conditions in which I once sang out from this blog no longer exist. This was finally brought to a point that I could no longer ignore & I came to realise that the "marked date" had finally arrived when I was thinking about this new year and my aims, which was beautifully & succinctly summed up by a quote I saw on Pinterest :

In light of this I thank all of you who have been on this journey with me & apologise for the impromptu stops along the way, but this is now the end point of The Parrish Lantern, journey. So I now say goodbye, wish you well on your own continued travels and hope to see you around this world of books that we all have created a part of. May your new year bring you all you need & at least some of what you wish for.

Sunday, November 29, 2015

What
would you do if after years of believing one of your parents was dead,

you then
found out that they were alive & that your other parent had lied?

What
would you do if you found out that one of your parents was a fugitive war
criminal, one of those people you see on the news photographed smiling next to
a mass grave?

Would
you want to know more?

Would
you want to meet the person?

How
would you react to this individual, this fugitive, this killer --- your parent?

When
Vladan Borojević Google's the name of his father Nedelko, a former officer in
the Yugoslav People’s Army, supposedly killed in the civil war after the decay
of Yugoslavia, he unexpectedly discovers a dark family secret. The story which
then unfolds takes him back to the catastrophic events of 1991, when he first
heard the military term deployment and his idyllic childhood came to a sudden
end.

Seventeen
years later Vladan’s discovery that he is the son of a fugitive war criminal
sends him off on a journey round the Balkans to find his elusive father. On the
way, he also finds out how the falling apart of his family is closely linked
with the disintegration of the world they used to live in. The story of the
Borojević family strings and juxtaposes images of the Balkans past and present,
but mainly deals with the tragic fates of people who managed to avoid the
bombs, but were unable to escape the war.

Vladan’s
tale starts the day his father is seconded, this is also the day that an eleven
year old Vladan deems his idyllic childhood is over. From this moment his
father becomes an ever decreasing figure in his life till the day his mother
claims news of his death and he disappears from his life for what he thought
would be forever.

In
213 pages Yugoslavia, My Fatherland, documents the effect of the war in the Balkans.
Through Vladan’s personal family crisis, we follow a nation’s past and its
attempts to understand, reconcile and forgive itself collectively and as individuals.
This is also a tale of identity as a nation and Vladan try to work out who they
are and how that perception fits in to a modern state.

Goran
Vojnović (b. 1980) graduated from the Academy of Theatre, Radio, Film and
Television in Ljubljana, where he specialised in film and television directing
and screen-writing. The film Good Luck Nedim (he co-wrote the script with Marko Šantić) won the Heart of Sarajevo Award and was nominated for the European Film
Academy’s Best Short Film Award in 2006. He has directed three short films
himself and his first feature film Piran/Pirano premiered in 2010. Vojnović is
considered one of the most talented authors of his generation. Film magazines
and newspapers regularly publish his articles and columns. His bestselling début novel Southern Scum go home! (2008) reaped all the major literary awards
in Slovenia, has been reprinted five times and translated into numerous foreign
languages. A collection of his columns from a Slovene daily newspaper and
weekly magazine have also been published as a book under the title When Jimmy
Choo meets Fidel Castro (2010), which was translated into Serbian.

Dr
Noah Charney is a professor of art history at American
University of Rome and University of Ljubljana. He is also an award-winning
writer for numerous publications, including The Guardian, The Atlantic, Salon,
The Times and Esquire. He is the best-selling author of many books, including
The Art Thief and The Art of Forgery. He lives in Slovenia, where he
collaborates with local authors and publishers on books such as this one.

Sunday, November 1, 2015

Japan,
1936. An old eccentric artist living with seven women has been found dead - in
a room locked from the inside. His diaries reveal alchemy, astrology and a
complicated plan to kill all seven women and to use parts of each women to
create an ideal women. Shortly afterwards, the plan is carried out: the women
are found dismembered and buried across rural Japan. By 1979, these Tokyo
Zodiac Murders had been obsessing a nation for decades, but not one of them has
been solved. A mystery-obsessed illustrator and a talented astrologer sets off
around the country - and you follow, carrying the enigma of the Zodiac murderer
through madness, missed leads and magic tricks. You have all the clues, but can
you solve the mystery before they do?

The
author challenges you to solve this mystery, as this book belongs to the
popular honkaku, “orthodox” or “authentic” sub-genre of murder mysteries, unlike psychological thrillers this genre tends to focus on plotting and on following
the trail of laid clues. The idea is that the reader is not lead astray by the
writer, but placed in the same setting as the book’s protagonists, given the same
opportunities to solve the mystery - in fact there are several points that Soji
Shimada actually stops the tale and tells you that you have all the clues
necessary to solve the puzzle and challenges you to do so before the book’s own
heroes. Honkaku writers tend to shy away from any form of social criticism,
setting themselves apart from writers such as Ryū Murakami, Natsuo Kirino and Shuichi
Yoshida, hearkening back to the Golden Age of Detective Fiction and writers such
as Arthur Conan Doyle, Agatha Christie & Edgar Allen Poe. This style of
fiction was predominant around the 1920s and 30s, but had been written since at
least 1911, the genre even came to be codified with its own set of rules which
were either Knox's "Ten Commandments" (or "Decalogue") (Ronald Knox) or the similar
but more detailed list of prerequisites prepared by S.
S. Van Dine in an article entitled "Twenty Rules for Writing
Detective Stories" this appeared in The American Magazine in
September 1928 and were commonly referred to as Van Dine's Commandments – in this list the
rules of engagement are:

1. The reader must have equal opportunity
with the detective for solving the mystery. All clues must be plainly stated
and described.

2. No wilful tricks or deceptions may be
placed on the reader other than those played legitimately by the criminal on
the detective himself.

3. There must be no love interest. The
business in hand is to bring a criminal to the bar of justice, not to bring a
lovelorn couple to the hymeneal altar.

4. The detective himself, or one of the
official investigators, should never turn out to be the culprit. This is bald
trickery, on a par with offering someone a bright penny for a five-dollar gold
piece. Its false pretences.

5.
The culprit must be determined by logical deductions — not by accident or
coincidence or unmotivated confession. To solve a criminal problem in this
latter fashion is like sending the reader on a deliberate wild-goose chase, and
then telling him, after he has failed, that you had the object of his search up
your sleeve all the time. Such an author is no better than a practical joker.

6.
The detective novel must have a detective in it; and a detective is not a
detective unless he detects. His function is to gather clues that will
eventually lead to the person who did the dirty work in the first chapter; and
if the detective does not reach his conclusions through an analysis of those
clues, he has no more solved his problem than the schoolboy who gets his answer
out of the back of the arithmetic book.

7. There simply must be a corpse in a
detective novel, and the deader the corpse the better. No lesser crime than
murder will suffice. Three hundred pages is far too much bother for a crime
other than murder. After all, the reader's trouble and expenditure of energy
must be rewarded.

8.
The problem of the crime must be solved by strictly naturalistic means. Such
methods for learning the truth as slate-writing, Ouija-boards, mind-reading,
spiritualistic séances, crystal-gazing, and the like, are taboo. A reader has a
chance when matching his wits with a rationalistic detective, but if he must
compete with the world of spirits and go chasing about the fourth dimension of
metaphysics, he is defeated ab initio.

9.
There must be but one detective — that is, but one protagonist of deduction —
one Deus ex Machina. To bring the minds of three or four, or sometimes a gang
of detectives to bear on a problem, is not only to disperse the interest and
break the direct thread of logic, but to take an unfair advantage of the
reader. If there is more than one detective the reader doesn't know who his conductor
is. It's like making the reader run a race with a relay team.

10. The culprit must turn out to be a person
who has played a more or less prominent part in the story — that is, a person
with whom the reader is familiar and in whom he takes an interest.

11. A servant must not be chosen by the author
as the culprit. This is begging a noble question. It is a too easy solution.
The culprit must be a decidedly worth-while person — one that wouldn't
ordinarily come under suspicion.

12.
There must be but one culprit, no matter how many murders are committed. The
culprit may, of course, have a minor helper or co-plotter; but the entire onus
must rest on one pair of shoulders: the entire indignation of the reader must
be permitted to concentrate on a single black nature.

13.
Secret societies, camorras, mafias, et al., have no place in a detective story.
A fascinating and truly beautiful murder is irremediably spoiled by any such
wholesale culpability. To be sure, the murderer in a detective novel should be
given a sporting chance; but it is going too far to grant him a secret society
to fall back on. No high-class, self-respecting murderer would want such odds.

14.
The method of murder, and the means of detecting it, must be rational and
scientific. That is to say, pseudo-science and purely imaginative and
speculative devices are not to be tolerated in the roman policier. Once an
author soars into the realm of fantasy, in the Jules Verne manner, he is
outside the bounds of detective fiction, cavorting in the uncharted reaches of
adventure.

15.
The truth of the problem must at all times be apparent — provided the reader is
shrewd enough to see it. By this I mean that if the reader, after learning the
explanation for the crime, should reread the book, he would see that the
solution had, in a sense, been staring him in the face-that all the clues
really pointed to the culprit — and that, if he had been as clever as the
detective, he could have solved the mystery himself without going on to the
final chapter. That the clever reader does often thus solve the problem goes
without saying.

16.
A detective novel should contain no long descriptive passages, no literary
dallying with side-issues, no subtly worked-out character analyses, no
"atmospheric" preoccupations. Such matters have no vital place in a
record of crime and deduction. They hold up the action and introduce issues
irrelevant to the main purpose, which is to state a problem, analyse it, and
bring it to a successful conclusion. To be sure, there must be a sufficient
descriptiveness and character delineation to give the novel verisimilitude.

17.
A professional criminal must never be shouldered with the guilt of a crime in a
detective story. Crimes by housebreakers and bandits are the province of the
police departments — not of authors and brilliant amateur detectives. A really
fascinating crime is one committed by a pillar of a church, or a spinster noted
for her charities.

18.
A crime in a detective story must never turn out to be an accident or a
suicide. To end an odyssey of sleuthing with such an anti-climax is to hoodwink
the trusting and kind-hearted reader.

19.
The motives for all crimes in detective stories should be personal.
International plotting and war politics belong in a different category of
fiction — in secret-service tales, for instance. But a murder story must be
kept gemütlich, so to speak. It must reflect the reader's everyday experiences,
and give him a certain outlet for his own repressed desires and emotions.

20.
And (to give my Credo an even score of items) I herewith list a few of the
devices which no self-respecting detective story writer will now avail himself
of. They have been employed too often, and are familiar to all true lovers of
literary crime. To use them is a confession of the author's ineptitude and lack
of originality. (a) Determining the identity of the culprit by comparing the
butt of a cigarette left at the scene of the crime with the brand smoked by a
suspect. (b) The bogus spiritualistic séance to frighten the culprit into
giving himself away. (c) Forged fingerprints. (d) The dummy-figure alibi. (e)
The dog that does not bark and thereby reveals the fact that the intruder is
familiar. (f)The final pinning of the crime on a twin, or a relative who looks
exactly like the suspected, but innocent, person. (g) The hypodermic syringe
and the knock-out drops. (h) The commission of the murder in a locked room after
the police have actually broken in. (i) the word association test for guilt.
(j) The cipher, or code letter, which is eventually unravelled by the sleuth.

Although
written in 1928, for the most part these rules appeared to be adhered to and
The Tokyo Zodiac Murders would with utmost grace be welcomed amongst the
classics of this period, in fact such is the complexity of plot and the sheer
elegance of the solution to this book, Shimada’s writing would be in the
forefront of any of the writing to have come out at that period of time. I’ve
chosen to write very little about the book itself and more about its genre, my
reasoning is that to reveal too much about the plot itself would be breaking
the rules by revealing details, thereby giving the reader a head start over the
books detectives and negating the veracity of the challenge and, although I
thoroughly enjoyed reading this book and have even advised my wife (who is a
big Agatha Christie fan) to give it a go, once I started researching the
backstory this appealed to my sense of history and added a detail that to me at
the very least enhances the reading experience.

Born
in 1948 in Hiroshima prefecture, Soji Shimada has been dubbed the 'God of
Mystery' by international audiences. A novelist, essayist and short-story
writer, he made his literary début in 1981 with The Tokyo Zodiac Murders, which
was shortlisted for the Edogawa Rampo Prize. Blending classical detective
fiction with grisly violence and elements of the occult, he has gone on to
publish several highly acclaimed series of mystery fiction, including the
casebooks of Kiyoshi Mitarai and Takeshi Yoshiki.

He is the author of 100+
works in total. In 2009 Shimada received the prestigious Japan Mystery
Literature Award in recognition of his life's work.

The
Tokyo Zodiac Murders is part of Pushkin Vertigo, a crime imprint. Starting by
Pushkin Press in September 2015 the imprint will publish crime classics from
around the world, focusing on tours-de-force works written between the 1920s
and 1970s by international masters of the genre, with spine-tingling jackets
designed by Jamie Keenan.

Wednesday, October 7, 2015

Since 1994 National Poetry Day has engaged millions of people with poetry through a range of live events and web-based activities for people throughout the country. Such a variety of poetry is written and read that each year the day is given a new theme, in order to highlight particular poets

National Poetry Day 2015 is today (08/10/15) and the theme is Light. The Poetry Society and Southbank Centre have once again assembled a team of Young Producers aged 18-25 who will curate a day of illuminating poetry readings, workshops and installations.

National Poetry Day Live will see an afternoon of free readings will take place in Royal Festival Hall, London featuring performances from some of the UK’s biggest and newest talents in poetry and spoken word, including Karen McCarthy Woolf, Michael Symmons Roberts, Rachel Rooney, John Hegley, and more. Working with Jaybird Live Literature, there will be a special evening event featuring new work by a range of contemporary poets who will examine what’s illuminated and what stays in the shadows. and styles of poetry.

Be part of National Poetry Day & think, act,love, live & dream like a poet. The day is a chance to break with the tyranny of prose for 24 hours by sharing poetry in every conceivable way, with the hashtags

#nationalpoetryday and #thinkofapoem.

Contains Strong Language!!!!!

Contains Strong Language is a major season celebrating the disruptive power of poetry, centred around National Poetry Day on 8 October.

The BBC is putting poetry at the heart of the schedules across its services, with new commissions from many of our major poets.

You can view the trailer below, along with details of just few of the highlights - for more details check out the full schedule or read the BBC press release.